Who will get rich

The fantasy that local people - small businesspeople, informal traders, especially black people - will make money or get jobs during the 2010 World Cup.

South Africa's national football team training at the University of the Witwatersrand (Wiki Commons).

Just as the football at the 2010 World Cup will be great, someone will make lots of money. It is not going to be local businesses for sure. This excellent 13 minute short documentary (“Trademark 2010“) for Dutch TV public TV channel, VPRO, takes on the fantasy that local people – small businesspeople, informal traders, especially black people – will make money or get jobs during the tournament (Ht: Tom Devriendt).

Mainly filmed in Cape Town, the tightly structured short film consists of interviews with, among others, a young informal tour operator (who wants to corner the visiting Spanish-speaking market), a construction worker at the stadium (who contemplates the fact that he won’t have work after the stadium is completed), a former sports administrator (who laments FIFA’s greed), the leader of a group of informal traders in downtown Cape Town (who will be prevented from trading during the World Cup), sociologist Ari Sitas and campaigner Eddie Cottle of the group Campaign for Decent Work 2010. And then there’s the city official who sells jargon.

Only discordant note: Why does the film end by legitimizing former councilor, Arthur Weinburg, who represents the Cape Town Environmental Protection Association, a front for rich whites in the neighborhood where the stadium is located and have no other reasons to oppose it other than it is being built in their neighborhood and not somewhere else?

Further Reading

From Cape To Cairo

When two Africans—one from the south, the other from the north—set out to cross the continent, they raised the question: how easy is it for an African to move in their own land?

The road to Rafah

The ‘Sumud’ convoy from Tunis to Gaza is reviving the radical promise of pan-African solidarity and reclaiming an anticolonial tactic lost to history.

Sinners and ancestors

Ryan Coogler’s latest film is more than a vampire fable—it’s a bridge between Black American history and African audiences hungry for connection, investment, and storytelling rooted in shared struggle.